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Megiddo: The Omega Code 2 is a 2001 religious science fiction-adventure film, directed by Brian Trenchard-Smith and starring Michael York, Michael Biehn, Diane Venora, R. Lee Ermey, Udo Kier and Franco Nero. It is a follow-up to the 1999 film The Omega Code, serving as part prequel and part alternate retelling of the first film. It has a ...
Karagarga ("black crow" in Turkish [1]), often abbreviated KG, is a members-only Internet forum, BitTorrent tracker, and file sharing archive used primarily for sharing and downloading films considered to be obscure or rare.
Megiddo: The Omega Code 2, a 2001 American film "Megiddo", the 65th chapter and 34th episode of That Time I Got Reincarnated as a Slime; Prince Megiddo, a character in the Japanese television series Kagaku Sentai Dynaman; Aradia and Damara Megido, characters from the webcomic Homestuck (2009–2016)
Checkoway's documentary The Cave of Adullam [5] is executive produced by Laurence Fishburne and premiered at Tribeca Film Festival in 2022, winning top prizes Best Documentary Feature, Best Editing, and the Audience Award. [6] In an interview with Deadline, Fishburne said: “She has a cinematic sensitivity and a doctor’s bedside manner...
In 2001, the film had a sequel entitled Megiddo: The Omega Code 2, which serves partly as a prequel as well as an alternate retelling of the first film's eschatological plot. While it had a significantly larger budget than the original, it was less enthusiastically received, and was ultimately less popular.
Title Director Screenplay Cast Ayalathe Adheham: Rajasenan: Sasidharan Arattuvazhi: Jayaram, Gautami, Siddique, Vaishnavi: Utsavamelam: Suresh Unnithan: Suresh Gopi ...
This is a list of multilingual Indian films. The majority of films listed have been shot simultaneously alongside each other as a part of the same project—rather than being remade or dubbed at a later date.
This is a chronological list of melodrama films.Although melodrama can be found in film since its beginnings, it was not identified as a particular genre by film scholars—with its own formal and thematic features—until the 1970s and 1980s, at a time when new methodological approaches within film studies were being adopted, which placed greater emphasis on ideology, gender, and ...